테러리즘에 대한 저항서사와 포스트휴먼 윤리학: 돈 들릴로의 『폴링맨』
The Counter-narrative to Terrorism and the Posthuman Ethics: Don DeLillo’s Falling Man
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This paper aims to reconsider the stereotype of man’s man through Keith Neudecker’s change by the 9/11 trauma and to suggest the posthuman ethics through Lianne Glenn’s finding the importance of quotidian life in Don DeLillo’s Falling Man. Keith attempts to begin the profession as a poker player reflects his instability of masculinity. After the ‘Fall of Man,’ Lianne’s efforts for the vibrant life can be the ethics of posthumanism. Unlike Keith’s disconnection and inert stasis in the poker world, Lianne becomes the central character in the redemptive process. Lianne learns the life-oriented value by the aesthetic vital interpretation of Morandi’s still life. She searches for the motivations in David Janiak, falling man’s performance art and Richard Drew’s “The Falling Man” image, and recognizes the importance of dailiness and material world. Lianne finds communal solidarity and sacredness in dailiness, introspecting her father’s Catholicism. Her meditations on the prosaic cultures show her efforts for Americans’ spirituality and morality. DeLillo suggests that rediscovering the riches of quotidian life can be the vital futuristic vision in the posthuman age. In conclusion, through two divergent lives in Keith and Lianne’s efforts to relieve the 9/11 trauma, the ways for life fulfillment are to connect with the material world and to write the effective counter-narrative to the terrorism of destruction and death. The ethics of vital posthumanism should be the tools to solve the present problems. In this prospect, the life is the equivalent to the power of agency that can enact the possibility of organism. Posthuman ethics should be the politics of inventiveness and to experiment the formation of new vital subjectivity.
Abstract
This paper aims to reconsider the stereotype of man’s man through Keith Neudecker’s change by the 9/11 trauma and to suggest the posthuman ethics through Lianne Glenn’s finding the importance of quotidian life in Don DeLillo’s Falling Man. Keith attempts to begin the profession as a poker player reflects his instability of masculinity. After the ‘Fall of Man,’ Lianne’s efforts for the vibrant life can be the ethics of posthumanism. Unlike Keith’s disconnection and inert stasis in the poker world, Lianne becomes the central character in the redemptive process. Lianne learns the life-oriented value by the aesthetic vital interpretation of Morandi’s still life. She searches for the motivations in David Janiak, falling man’s performance art and Richard Drew’s “The Falling Man” image, and recognizes the importance of dailiness and material world. Lianne finds communal solidarity and sacredness in dailiness, introspecting her father’s Catholicism. Her meditations on the prosaic cultures show her efforts for Americans’ spirituality and morality. DeLillo suggests that rediscovering the riches of quotidian life can be the vital futuristic vision in the posthuman age. In conclusion, through two divergent lives in Keith and Lianne’s efforts to relieve the 9/11 trauma, the ways for life fulfillment are to connect with the material world and to write the effective counter-narrative to the terrorism of destruction and death. The ethics of vital posthumanism should be the tools to solve the present problems. In this prospect, the life is the equivalent to the power of agency that can enact the possibility of organism. Posthuman ethics should be the politics of inventiveness and to experiment the formation of new vital subjectivity.
참고문헌 (23)
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